Wilhelm Scherübl: Simeon, 2009, Hannah, 2009, lange schatten, 2009
geboren 1961 in Radstadt, Österreich, studierte an der Akademie der Bildenden Künste Wien. Nach dem Diplom bei Bruno Gironcoli im Jahr 1990 folgten durch verliehene Stipendien Arbeitsaufenthalte in Paris, Budapest, Glenfiddich (Schottland) und Krumau. Scherübl ist Preisträger des Großen Salzburger Kunstpreises (2005). Seine Arbeiten kreisen um Licht, Photosynthese, Natur und Transformation von Energie. Er war in zahlreichen Ausstellungen u.a. in Wien, Graz, Salzburg, Linz, Wels, Rosenheim, Brünn, Budapest, Admont, Trier, Novi Sad vertreten. Scherübl verwirklichte in den letzten Jahren einige große Sakralraumgestaltungen, u.a. 12 große Glasfenster für St. Johann im Pongau. Im KULTUM waren seine Arbeiten in der Installation im Stiegenaufgang: „Vanishing Work – Verschwinden durch Licht“ (2007) bei „Lichtmesz“ (2009) und bei „RELIQTE“ (2010) zu sehen.
born in Radstadt, Austria, in 1961; studied at the Academy of Fine Arts Vienna. After graduating from Bruno Gironcoli’s master class in 1990 he received scholarships for working visits in Paris, Budapest, Glenfiddich (Scotland) and Krumau. Scherübl received the Grand Art Award of the Provincial Government of Salzburg (2005). His works revolve around light, photosythesis, nature, and the transformation odf energy. They were shown in numerous exhibitions in i.a. Vienna, Graz, Salzburg, Linz, Wels, Rosenheim, Brünn, Budapest, Admont, Trier, and Novi Sad. In recent years, Scherübl realized several large-scale designs for sacral spaces, i.a. 12 large glass windows for a church in St. Johann im Pongau, Austria.
Wilhelm Scherübl: Simeon, 2009, Hannah, 2009, long shadows, 2009
Light, natural light, artificial light, intrinsic light, light of knowledge: Wilhelm Scherübl works in and with nature, which becomes the irrepressible source of transformation of energy, force, and life. He painted over the windows in a cell-like manner in many on-site exhibitions. What he created in the process was a mystical transformation of a space, nourished by the growth strength of cells, which belongs to the basic matrix of Scherübl’s art. In the multi-part work “ESPERAR, lange Schatten oder Simeon“ [ESPERAR, Long Shadows or Simeon], which he created for the multidisciplinary project “Lichtmesz“ (2009), the shadows of the window surfaces of a historical monastery cell are caught by repeating silvery surfaces on the floor—these, in their turn, are covered by the shadows of the sunflowers on the wall. In reality, dried sunflowers were hanging from the ceiling while their shadows on the windowpanes— upside down like in a camera obscura, of course—had already turned into an image. The multi-part work makes a mental link between the sun’s transformative power, its growing force corresponding to the hope of Candlemas Day, and the lettering of “SIMEON” underneath which a candle burns: an unusual confrontation, as unusual as the symbolism of “Candlemas” itself. The small-scale copperplate print on which the letters are formed like from the intricateness of identical straight lines that appear like short sticks takes up another element of the artist’s formal language: the use of neon tubes to hint at actual words. “HANNAH“, which was presented in the same exhibition, is a neon tube installation where this name is only readable when it is mirrored. Playing with words is a constitutive element of Scherübl’s art as well. That the name and the light connect are linked in two different ways makes up the special lyricism of Scherübl’s contribution. Different levels of the image, content, meaning, yes, expectation, waiting for something, hanging on, hoping—after all, the Spanish title is “Esperar”.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 308-311.